Abstract

In 1909 the city of Newcastle was offered the bequest of J.A.D. Shipley. Containing 2,500 paintings attributed to masters such as Rembrandt and Raphael, and linked to a sum of £30,000 for museum accommodation, it caused a media stir. C. B. Stevenson, curator of the Laing Art Gallery in Newcastle upon Tyne, reported that the collection contained many ‘feeble imitations . . . unworthy of the names attached to them.’1¹ Nevertheless, he recommended its acceptance, because of the benefit it would confer on the Laing. But Newcastle council rejected Stevenson’s advice, favouring external reports to support its verdict, which was based on financial concerns and on the negative responses of prominent citizens. The Laing’s appeals were disregarded and Gateshead obtained the bequest, leading to the creation of the town’s first public art gallery, the Shipley Art Gallery, in 1917. The Shipley case is here discussed as an example of misunderstanding between cultural institutions and political structures, and of the power of local elites to raise questions regarding authorship and authenticity.

中文翻译：

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``仅是古董的老字号收藏''拒绝希普利的遗赠

摘要

1909年，纽卡斯尔市成为了JAD Shipley的遗赠。包含2500幅归因于伦勃朗和拉斐尔等大师的画作，并与3万英镑的博物馆住宿费挂钩，这引起了媒体的轰动。泰恩河畔纽卡斯尔的莱恩美术馆的策展人史蒂文森（CB Stevenson）报告说，该收藏品包含许多“低调的模仿”。。。不配附接到them.'1名字¹尽管如此，他还是建议接受它，因为它会给Laing带来好处。但是纽卡斯尔议会拒绝了史蒂文森的建议，赞成外部报告来支持其裁决，该裁决是基于财务问题和主要公民的负面回应。拒绝了Laing的上诉，盖茨黑德（Gateshead）获得了遗产，并于1917年创建了该镇的第一个公共美术馆，希普利美术馆。此处讨论了希普利案，作为对文化机构与政治结构之间误解的一个例子，以及地方精英提出关于作者身份和真实性的问题的权力。